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Some thoughts after digging into the Pod HD 500x for a year tl/dr: stick with it, you can get good results but you will have to dig for them, especially if you are new to modellers. What I was looking for First off, bedroom player. Low talent. Don't gig. Do jam and record with a friend. Low experience of actual amps and stompboxes. Been recording terrible songs on-and-off since teenage-hood, but getting back into guitar over the last couple of years after a long absence. That said, good aptitude with things digital and I do read manuals. Currently approaching the mid-century. Influences: delta blues, classic rock, dirty blues rock and goth/indie. I bought the Pod HD 500x after buying a reissue Big Muff. I wanted to get a Black Keys kind of tone. After using the Big Muff once I starting watching Rig Rundowns and realising that there is a lot to finding your tone(s). I realised that I might be on the start of some epic quest to find what worked for me. I started looking at pedal boards and pedals and power supplies and interconnects and then realised that I didn't want an expensive, buzzing mess of unreliable, unsightly and expensive pedals and interconnects when I didn't even know what sorts of tones I liked. I also wanted to be able to try different effects without having to go through the whole "which is the best Univibe, then buy it" loop. The idea of being able to just drop in a modelled effect with a few clicks really appealed. So, at that point I decided to go sim/multifx. I accepted there would be a compromise on "real tone" and on mojo. My thinking was that multifx would be neater and give me more experimental options. I did look into setting up a purely-VST- based rig. I worked out that the cost of the attendant midi foot switches and an expression pedal was not massively different to the various modeller floorboards that are available. Add in the cost of the software itself and it would be even more expensive. The idea of a dedicated unit that did everything in one box was really appealing. I looked into the various options. I should comment at this point that one of my guiding principles in life is not to be the guy with "all the gear, no idea". I don't want to have higher-end gear than I have knowledge and talent to use. I want to be able to fully exploit what I have, then move on if I outgrow. Because of that I discounted the Kemper and Helix-level products. I settled on the Pod HD 500x as it gave me lots of effects, a software interface, a physically-robust floorboard, an expression pedal, a looper AND the ability to send midi from the stomps to control VSTs if I wanted. It seemed reasonably priced for all the flexibility. At the time the Pod Go was not available so don't take this post as a comparison with the Pod Go. Starting with the Pod HD 500x Initial impressions were ok when I flicked through the presets. I'd been warned that they were all over the top so wasn't expecting to use them. I was left with the impression of flexibility and a wide range of tones available. As I dug in and started to try my own tones I did find it hard to get things right. There are many options. Not all sound good. They probably don't sound like the real thing in a lot of cases. My ear was uneducated. There is a lot of discussion on the internet but the nuggets are buried in a lot of subjectivity. I found that downloads from Custom Tone were helpful as a way of seeing how other people had got their tones. Some worked straight away for me, others provided a base. Many sounded very off so I suppose they didn't match my equipment or taste. Another possibility is that the person had uploaded a tone that just wasn't very good. Issue using HD500 tones, or uploaded tones that may have been re-labelled as 500x Don't try HD500 tones on your 500X. You can drag and drop them into HDEdit, but it doesn't mean they are quite compatible. The format of the files is different and it can make your floorboard decide to lose all patches. I had this problem very early on. It was not a big deal for me as I simply performed a factory reset, but it worried me at the time. To deal with this, firstly, regularly back up your whole bundle in HD Edit. Secondly, if you really want to try a tone from a different model, then load it into HD Edit, examine it without sending to the hardware, then create your own duplicate from scratch. It doesn't take long and then you know you have a compatible patch. Absence of Pod Farm HD and inability to reamp with Pod HD series After some time I realised that you can't really re-amp with the Pod HD series. There are ways to do it, but they are awkward. This made me long for what is present in the earlier Pod series and the in HX series: a software version. The earlier Pods seemed to come with Pod Farm for free. The Helix hardware offers a heavy discount on the matching software, called Helix Native. I really like the ability to just plug into my audio interface and record something, then tweak the tone later, with full recall. For some reason Line 6 didn't make a software companion for the HD series. Epic search through almost every amp-sim software available Realising this made me start to consider buying a third-party amp-sim/fx package. Sticking with Line 6 would make sense from a model-similarity point of view as I wanted to have some comparability between my recording and live tones. I was quite miffed at having to buy the models twice when this would not have happened with the previous Pod generation or the HX generation. I tried most every ampsim/fx package and singular plugin available. I read many threads debating the merits and how to set them up. Some basic findings and conclusions I came to: - All the ampsim/fx packages can sound fine in the mix, even the really old ones. - The newer and more paid-for sims do sound a bit better than the older ones and the free ones, but there is not a huge amount in it when listening solo and less when in a mix. - Some of the newer free sims are really excellent. You really can just go free if you need to. It would not be quite as satisfying as the paid packages, but you will be able to record stuff at a hobby level. The honestampsimreviews website was useful for finding free sims. I'd mention Amplitube 4 (the free starter), Mercuriall/Roxolder, Flextron and PSA from AXP, Ignite, Blue Cat and Kuassa as the ones I liked. - The newish, cheaper modular packages end up costing you about $200 by the time you have bought a couple of amp sims and the usual pedals you would use - overdrive/distortion, compressor, reverb, delay. I loved Kuassa for Caliburn, Matchlock and their overdrive. - The older all-in amp-sim packages like Pod Farm and Guitar Rig offer a lot of options but are somewhat overpriced given that they don't offer current technology. I would likely have bought Pod Farm (Platinum as I want the range of models) if it was discounted more. Both of these seem around $200 by the time you have carefully bought the right package on sale. - It is not particularly well-published, but Helix (including Native) incorporates legacy models which seem to cover the HD series models. So the elusive, non-existent Pod Farm HD could be achieved at some expense with Helix Native and the use of the Legacy models. - TIP: Getting the right level for your audio interface is not necessarily the same as getting the right level for your VST amp-sim (or any plugin I supposed). On your audio interface you want to set the gain as high as you can whilst leaving headroom to prevent your audio interface digitally clipping your input (so leave plenty of head room). Once you are in your DAW, your plugin will often offer an input level knob (often with a meter). Sometimes the documentation even tells you what range it is expecting. Set this appropriately as it makes a big difference to how the plugin reacts. Line 6 plugins give a good indications. In the end, all of this messing around and A/Bing different sims taught me a lot about modellers and how to optimise them. It caused me to read up a lot more about real-life mics, mic placement, speakers, cabinets and room sounds. Lol, I even read up on the history of the Celestion factory. This kind of thing is useful to be able to understand what the modellers mean when they talk about Greenbacks and Blackbacks. This knowledge and ear-education translated directly back to the Pod HD 500x, so I now get much better results with the Pod and am more confident using it. I don't slavishly choose "Greenback" because that is what someone's Rig Rundown says. I'm ok to choose Blackback, or a more modern cabinet as I know what it means. USB-recording issues The Pod HD audio drivers will blue-screen some modern Windows PCs. You see many posts about this. I have a couple of Win 10 desktop PCs I have tried the POD HD 500X on. One is older and never bluescreens. My newer one - which is the one I want to use - does bluescreen. It does it less if I use one of the USB 2 ports. Easiest workaround seems to be to just run from the 1/4inch outs into an audio interface if you have one (I do), but the quality does seem noticeably better on the USB interface. I wish Line 6 would create a solution for this issue. Although the Pod HD series is old, it is still a current product. So where have I ended up after a year of use? I like the Pod HD500x. It does what I bought it for - gives me lots of effects models and amp models, together with stomp-box-style foot switches and an expression pedal. I'm miffed that it does not have a software companion as the older and newer generations do. I will likely buy Helix Native when it is on sale sometime, but it pains me that I'm buying the models twice. The USB connectivity issue irks me. I will tinker a little more with some of the "downgrade your USB connection" options, but I do wish Line 6 would characterise this issue and issue a fix or workarounds so I don't have to spend the time. All the learning I did with other plugin options translated directly back to the Pod HD 500x and I can go straight to the models and effects I like to get the tone I am after, or something workable enough. As such, the need for reamping and the software companion is actually reducing. I've moved away from the concept of "Clapton used a JTM-45 on Bluesbreakers, therefore I have to use a JTM-45 model in the Pod" to trying different amp models and fx models to get a sound I like. For example, I'm enjoying the Soldano models in the Pod. I've never heard a Soldano in real life and the tones I like tend to be on the Marshall / HiWatt /Orange side. For whatever reason the Soldano models are sounding good to me. When I create a new tone now I do what the guides suggest. I start with a blank tone and add an amp. I adjust it so I like it, including adjusting the cab and mic options. You can sometimes get where you want to be with just an amp/cab model. Then I add distortion pedal(s) up front if I want/need and delays and reverbs after the amp model. You can double up if you want more subtlety / richness. I'm happy with what I am getting. I'm feeling enabled by, not limited by, the Pod. I love the integrated looper. Yes, it is basic, but it is good for getting ideas, noodling/practice and testing tones. TIP: move the looper to the front of the chain while tweaking tones. That way you don't have to keep replaying. TIP: Put the looper in half-speed mode before you record and you get twice the recording length. I presume there is a reduction in quality. Oh, the Line 6 model gallery is a joy as it shows you the original equipment that the model is based on. Then you can go and read about the history and use of that particular amp/pedal. You can see videos demonstrations of the real thing and listen to records on which it was used. Fun and educational. The knowledge translates really well into your use of the models in the Pod. Falling in love with my real amp I have a little practice amp that I bought 20 years ago. It's a Peavey Rage 158. We are not talking about a monster or classic amp here. I used to think it was awful, but it isn't. I was that I didn't know how to adjust the controls for a good sound as my ear was so poor. I suppose my playing has improved a bit too. Now I really like the clean and mildly-overdriven sounds from that little (loud!) amp. When I put the Pod in front if it I now have a ton of effects I can use. I like it! In Summary POD HD 500x is very flexible for the money. It does take time to get the most out of it, and there are some limitations. The journey will be a rewarding experience if you have the patience. Oh yes... trust your ears. It really is true. actually, let me add an edit: Develop your ears a bit by listening to lots of different things and then trust them. DM Appendix: Random nuggets All the Pod HD series sound the same. They have different form-factors and the newer ones will run more effects and have more in-built models, but sound is essentially the same. Fuzz pedals like to go first. The Output Modes on the Pod are a bit crude but they do the job. I really wish there was a clipping indicator as you can clip things internally in the chain and not always realise. Headphones don't sound like speakers. I need to work on that.

@datacommando all true, for sure

you may have maxed out your number of allowed authorizations. I did this by trying the demo several times and then once i finally got a helix i had to rebuild my pc a several times too. I assumed that each time i reauthorized it the old authorisation would get voided, but this wasn't the case and i reached the limit. There was no warning on the helix that this was the error it just wouldn't let me authorize it go to https://line6.com/account/devices/ and try Deauthorizeing everything that is there, then reauthorize your current version.

Well this is just one guy's experience of course, but fwiw, in what is rapidly approaching 30 years of gigging I've never once seen or even heard anyone discuss doing that...

You might find this interesting... https://blog.line6.com/2020/05/18/breaking-the-analog-model-why-surrender-to-hardwares-limitations/

Although heavier and offering less potential L/R separation, getting a single 212 Powercab is an option to getting two PC+'s for running in stereo. I'm agnostic as to whether people opt to use FRFR, traditional guitar amp/cab, or Powercab. Personally I prefer an FRFR for gigging but maybe that will change as I get more comfortable with my PC+. My hat is off to anyone who runs 7CM. You couldn't get me to do that on a bet. The fewer cables and less possible points of failure the happier I am. Love those H&K amps. Lots of great Helix integration via MIDI to be had there. Heh, more cables :-)

If you can afford 2 PC+ by all means do it - do not pass go. 'OR' a couple of Line 6 Stagesource speakers will do the same thing. I would say it depends upon the style of music you play. I have a single PC+112 and two of the bigger Stagesource speakers (one of those with the on-board mixer option for playing out and keeping it REAL simple). I like TX Blues, Gilmour, and basic edge of break-up tones for which the PC+112 is amazing. I don't play the real hard stuff, but I would think the Stagesource speakers or a pair of the 212 PC+ would be better for that. That aside, I've recently revisited messing around between various cabling into a tube amp that I kinda miss. I absolutely don't think it's worth it. I was a photographer when digital was finally able to be a real substitute for film and what a struggle it was for the purists, and myself, to admit it. I honestly think the current amp and effect mod tech has finally reached that point as well. Especially with the advent of the PC+. It has a learning curve of it's own but it's all in there.

No. Here's a test Preset. Press FS11 to A/B the two signal paths. Maybe there's something else in your signal path that's causing it. Test Bypass Tron.hlx

What Silverhead said, a nice piece of Helix history. Line 6 also came out with several new devices using HX technology that were not technically a "Helix". The LT, HX Stomp, and HX FX were released after the Helix, all of which use essentially the same editor. I think the branding was that these were all part of one line of equipment - the "HX" line, but not necessarily a Helix so "HX Edit" makes more sense as the name of the one editor to rule them all. Btw, I have been asking since practically the first firmware upgrades that the file that we download actually be renamed to something like the HX Bundle. The fact that that download actually contains not only the editor but also the required drivers and updater has been a source of infinite confusion for newer users. At least it looks like now the updater has been integrated into HX Edit. That is one less component users have to worry about getting the right version of. Of course there is still confusion because it would appear that although you can now be automatically alerted when there is a new latest firmware version and download and install it from your current version of HX Edit it is still unclear as to whether or not you also have to download and install the latest version of HX Edit. As far as i can tell, if there is one, you do. Ideally a one stop shop upgrade process would automatically update the editor, drivers, updater, and firmware all at the same time. We seem to be still at some interim phase of a truly mature upgrade process. Better than it used to be but still prone to leaving users unaware of what steps they need to take. Sometimes a new firmware version comes out without a corresponding editor version. I think the latest hotfix from 2.90 to 2.91 was a perfect example of how firmware and editor can still get out of synch with each other when only the firmware is updated through HX Edit . There was never a 2.91 version of HX Edit, only 2.91 firmware. For users who have since used the 2.90 version of HX Edit to upgrade to the 2.92 firmware I wonder how many of them are unaware that there is also a 2.92 version of HX Edit. Ideally HX Edit 2.90 would upgrade the firmware to 2.92 and also upgrade itself to HX Edit 2.92. If it is already doing this please let us know Line6, but I don't believe that is currently the case(could be wrong). As far as I know you still have to manually download and install the latest version of HX Edit(2.92 right now). At least that is the way I did it.

Another example as to why I really need to stop making ANY assumptions ever - LOL! My Helix has OFF, TOUCH, PRESS, TOUCH & PRESS.... I assumed the stomp also had the OFF setting. Sorry for confusing this matter. I would submit a ticket to Line 6, point out the problem and see what they have to say about it.

I have upgraded to 2.92. Everything is great, EXCEPT when I switch from one tone to another the volume does some crazy things...Sometimes the volume is gone and I have to tap the volume foot pedal for it to come back to the volume level I have it set at. This is a disaster when playing live switching from tone to tone quickly and all of the sudden it is muted until I tap the pedal. Am I alone here? I read through the comments and found nothing of the sort. Sorry if I missed it. Need to fix this fast! This is a Helix floor unit

I got my G10 transmitter and receiver for Christmas 2018 and after the recent safety update it went from being able to do 2 hour gigs to lasting about 10 minutes. It was outside of the warranty so after much forum reading I decided to fix it myself and now it's back to how it was since I first got it for the price of a new battery. All I needed was: New battery Soldering iron Solder Sandpaper (for roughing up the battery ends to get the solder to stick) This is the Olight battery I bought for £4.95 plus shipping - it's very similar to the original but slightly longer (because it has short circuit and overcharge protection) so you'll have to do some trimming on the inside and desolder and then resolder two wires, not a big deal really! https://www.torchdirect.co.uk/olight-batteries-chargers/olight-14500-37-v-750-mah-li-ion-protected-battery.html 1. Lift the sticker on the top and use a Torx size 7 to remove the screw that holds the end cap on. 2. Slide the outer sleeve off and use a Torx 4 to open the inner sleeve. 3. Here's the battery I used to replace the original. 4. Peel off the thin plastic wrap around the original battery. 5. Here you can see the orignal is the same as the one I bought to replace it, 3.7v and 600ma. 6. The new one is slightly longer so you'll need to trim off with a dremel (or in my case melt off with a soldering iron) the extra plastic bits on the inside to make room. None of them are needed as the metal Line6 labelled sleeve holds it all together anyway! 7. Solder the wires to the new battery, reassemble and rock on! If you can't get the solder to stick to the battery ends, rough them up a bit with a file or piece of sandpaper.

Thanks @crm3550 and @jmartin1997!! I bought a box of #10 o-rings from the plumbing isle at Home Depot, and followed your steps. It worked perfectly! Here's some reference pics for anyone else wondering.

For anyone that has a Helix, I put this up on Ideascale to be voted on. https://line6.ideascale.com/a/dtd/Variax-Names-in-HX-Edit-the-same-as-in-Workbench-HD/940274-23508#idea-tab-comments Here's what it says. I want the names of the models in the JTV Variax as they appear in HX Edit to reflect what they are named in Workbench HD. It seems a shame that I can rename the models in Workbench HD but the names I save them as in Workbench HD, do not appear in HX Edit. I hate having to carry around a piece of paper that shows me what I renamed the models in my JTV Variax and where they are. Is it that hard to do or is it illegal for some reason? I guess they do show up in the Helix screen that way (I haven't checked this out myself) so how hard could it be to implement into HX Edit?

Not surprised, seemed like normal behavior. Sorry I have not been able to recreate the bug you are seeing yet. A little off topic but I wanted to point out this observation which I made while trying to recreate your bug. You may have already noticed this but If you assign an alternate tuning for the Variax on the Helix it is only invoked when you switch to that preset. If you change the tuning knob on the Variax, changing snapshots will not retrieve your alternate tuning setting on the Helix. However, if you assign the alternate tuning settings parameter to a snapshot , e.g. 'Preset Variax String 6 '= [-2(D)] then when you switch snapshots it will invoke your alternate tuning setting from the Helix again. This actually makes a lot of sense and seems like it would be the preferred behavior. To sum up, default behavior is that the alternate tuning setting on the Helix is only invoked on a preset switch unless the tuning is assigned to a snapshot in which case it will invoke it when you switch to the preset and also every time the snapshot is changed. This means that if you assign the tuning to a snapshot you can change the tuning knob on the Variax in between snapshots and still get back to the alternate tuning setting on the Helix preset by switching to another snapshot or even just stomping on the current snapshot again. You don't have to switch away and back to the preset. I suppose this behavior might be useful for some songs. Seems well thought out and I like the way it works. The described switching behavior may seem like belaboring the obvious but it is unique to using the Variax with the Helix and seemed worth mentioning. Of course, as you would expect, it generally would make more sense to just assign different tunings to your snapshots and never change the Variax tuning knob manually. I will post back if I run into the issue you are seeing.

I found a workaround on the transmitter not fitting into the guitar input. I have a Ibanez S series with the recessed 1/4" plug. I removed the back plate lossened the jack and placed a 1/4" thick by 3/4" diameter rubber washer on the outside of the jack. This gave plenty of room for the G10 transmitter to connect.